ANNE WANNER'S Textiles in History   /   CIETA Embroidery Newsletters

Newsletter - of the CIETA Embroidery Group
Bulletin d’Information de Groupe Broderie de CIETA

No 3
September 1996

Dear members, St. Gallen, 19th september 1996
thank you very much for your cards and letters giving various pieces of information. The more you contribute the more it will become your letter of information ! As you will very well see in this letter, I was much impressed by my recent visit to St Petersburg. In the Hermitage Museum there was an exhibition on historicism in Russia, which gave also an idea of the 19th century textile collection. The textile department forms part of the Hermitage Museum.

If you have some interesting new acquisitions, please send me a photograph, I should be delighted to publish it. Would you be interested in starting a discussion about embroidery techniques ?

Awaiting your news, I am sending to all of you my best wishes, yours

Anne Wanner-JeanRichard
Textilmuseum / Vadianstrasse 2
CH-9000 St Gallen / Switzerland


General Information:
No 3 / Sept 1996/ 2

General Information:
ICOME-Costume Group (embroidery section): a letter about exchanging news has not been answered

French embroidery group:
Monique King sent me information about this embroidery group:
C.F.B. Centre Français d’Histoire de la Broderie, Presidente: Mick Fouriscot
Nathalie Jarniat, Secretariat general, 15 rue Colbert, 92 290 Chatenay-Malabry
in 1997 CFB organizes a conference on: "Embroidery from antiquity until today" (more information in this letter).

The State Hermitage Museum in St Petersburg, Russia, organizes a conference from October 21st to 24th 1996: "Historicism in Russia. Style and Epoch in the Decorative Arts. 1820s - 1890s".
(Information on the exhibition catalogue in this letter ). Anne Wanner has been invited to attend the conference and she will report in the next Newsletter.

Marie-Dominique Frieh, Lyon, secretaire generale, informs about the CIETA-meeting in September 1997 in Cambridge: small rooms for the specialist groups are already pre-booked. We can meet before the conference and a possible program should be made as soon as possible. Would you like to bring along photographs of special embroideries, maybe of interesting church embroideries? Should we rather discuss embroidery techniques? Please send suggestions to my adress.

Marie Schoefer, of the Musee Historique des Tissus sent information about the exhibition in Lyon (see letter). She also mentions an inventary on the embroidery collection (mainly European) from the 16th - 19th c. that is being made at the museum. It contains fragments of furniture and also costumes. So far nothing has been published.

Birgitt Borkopp sends exact title and date of the exhibition in Munich:
"Von China nach Byzanz - Ein Fund fruehmittelalterlicher Gewebe von der Seidenstrasse"
Exhibition of the Hermitage Museum, St Petersburg and the Bayerisches Nationalmuseum, Munich
25th October 1996 - 26th January 1997.
There will be one embroidered piece: Embroidery on linen in red silk. 46 x 66cm



Centre de Documentation France
Nathalie Jarniat
No 3 / Sept 1996

Nathalie Jarniat, Secretariat General, informe:
Le CBF est creee depuis janvier 1996, elle se donne cinq objectifs:

1 - la creation d’un Centre de documentation et de recherches,
2 - l’etude de l’objet (histoire et technique) à travers: l’iconographie, l’archeologie, les collections des musees ou collections privees et les sources ecrites,
3 - le conseil et l’expertise historique,
4 - l’organisation de rencontres et de colloques,
5 - l’edition de lettres d’informations, de monographies, d’actes de colloques, etc....


Colloque International du novembre 1997 à Paris: La Broderie de l’Antiquite à Nos Jours:

1. R. Benthouami, Paris: La broderie marocaine, techniques et outils.
2. J.J. Boucher, Paris: La soie pour la broderie.
3. Ph. Cecile, Paris: Le dessin en broderie.
4. Mme Cesar, Rochefort: La broderie d’or en France.
5. Mme de Chaignon, Lyon: La broderie au XVIIIeme siecle.
6. S. Coron, Paris: Les livres brodes.
7. D. Veron-Denise, Fontainebleau: Le rapport entre la gravure et la broderie au XVIIeme siecle.
8. J.P. Desroches, Paris: L’âge de la soie.
9. F. Dunand / R. Lichtenberg, Strassbourg: Les tuniques brodees des tombes de Douch (Egypte).
10. C. Fauque / N. Wolters, France/Allemagne: Les perles dans l’art de la broderie.
11. M. et Mme Frumann, France: Broderies et collections privees.
12. A. Garcia, Paris: Les encollements en broderie.
13. N. Jarniat / D. Pinasa, Paris, Le Centre de documentation et de Recherche du Centre Français
d’Histoire de la Broderie.
14. J.P. Leclerq, Paris: Le costume au XVIIIeme siecle: la broderie.
15. Mme Martiniani-Reber, Geneve: la broderie dans les ecrits byzantins.
16. M.M. Masse / I. Bedat, Paris: problematique de restauration de la tapisserie de Bayeux.
17. F. Piponnier, Paris: La broderie au Moyen-Age.
18. M. Pontroue, Amiens: La broderie des Ursulines d’Amiens et de Paris.
19. N. De Reynies, Paris: Le vocabulaire de la broderie.

La Broderie Contemporaine

20. M. Fouriscot, Paris, dirigera les tables rondes sur: La broderie contemporaine. Elle accueillera des artisans, des industriels, des createurs .....

Participeront aux debats:

L. Kamitsis, (Directrice des Projets au Musee de la Mode et du Textile à Paris) pour une intervention sur la dialectique entre une technique de broderie et un style de vêtement (exemples chez Vionnet, Schiaparelli, Paco Rabane)
O. Brel-Bordaz (Ministere de la Culture - Direction du Patrimoine), pour une intervention sur la broderie au XIVeme siecle: l’opus anglicanum

Nathalie Jarniat, 15, rue Colbert, 92 290 Chatenay-Malabry, Tel:

New acquisition, Freiburg Breisgau
Saskia Durian-Ress
No 3 / Sept 1996

Saskia Durian-Ress publishes a new acquisition

in: Jahresbericht 1994 (annual report)
Arma Christi: Embroidery on blue silk, with coloured silk, silver and gold threads,
Rheinland, last quarter 15th c., 21cm x 21cm, Inv.Nr. 1995/40,
from the antique market.

The embroidery used to be the front cover of a Bursa in a very fine embroidery technique, probably made near Cologne. The silk embroidery shows split stitch. The silver and partly gold thread is worked in couched stitching.

The embroidery used to be the front cover of a Bursa in a very fine embroidery technique, probably made near Cologne. The silk embroidery shows split stitch. The silver and partly gold thread is worked in couched stitching.



New acquisition, Luzern
Ursula Karbacher
No 3 / Sept 1996

Ursula Karbacher informs about a new acquisition,
Alliance-carpet, inscription 1563, coat of arms "Knab und Schindler",
Central Switzerland, h 143cm, b 175cm,
wool embroidery on linen, long armed cross stitch, mainly beige and brownish colours


Coat of arms: the families Knab and Schindler are extinct, regimental families of the town of Lucerne. An alliance of the two families has not been proved so far.



Question, Luzern
Ursula Karbacher
No 3 / Sept 1996

Ursula Karbacher notes a special ground fabric on
Altar frontal from St Katharinental, dated 1588, coat of arms: Caspar Von Ulm and Neidhart,
North of Switzerland, h 95cm, b 152cm, wool embroidery on black linen, couched embroidery


This altar frontal was embroidered by the sisters Margareta and Anna Von Ulm. They both were Dominican nuns in the convent of St Katharinental. (Margareta died in 1593 and Anna in 1600).

The ground fabric is composed of different, sometimes small pieces. Why did the sisters use this patched ground? An embroidery of this quality could be very well worked on a new ground. Could the patched ground have been a special fabric, maybe a former dress or cloth to remember someone, e.g. the parents of the two nuns?

Question: Does anyone know of similar embroideries, worked on special and already used ground fabric?


Question, Munich, pulled threadwork
Birgitt Borkopp
No 3 / Sept 1996


Bayerisches Nationalmuseum, Munich, by Birgitt Borkopp,
Sampler, Germany, middle of 18th century

Birgitt Borkopp sent the photo of this very fine sampler with "Dresdenwork" (pulled threadwork) from the Munich collection. Does someone have similar samplers and more information about where and when these works have been done?

detail of Sampler

Sampler, pulled threadwork, Bayerisches Nationalmuseum, Munich, Inv.Nr. T 3760



Textilmuseum St.Gallen, pulled threadwork
Anne Wanner
No 3 / Sept 1996


Textilmuseum St.Gallen, by Anne Wanner,
embroideries, Germany, middle of 18th cent.

In: Textile Museum Journal 1977, vol.4, p.35 the terminology of openwork embroidery was discussed and 6 american specialists (Coleman, von Rosenstiel, Bidner, Sonday, Moss, Merritt) proposed to use instead of "pulled work" deflected element embroidery. The definition is: no elements have been removed from the foundation fabric. The embroidery thread forces elements of fabric out of alignement.

pulled threadwork, detail of "engageante", Germany, 1763, St Gallen TM 21192 (left)

The technique of the following examples is pulled threadwork or deflected element embroidery. The threads are pulled in one or both directions. An additional thread creates different surface pattern. In german of the 18th cent. the names "point de Dresde" and "point de Saxe" are used as well as "Ajourarbeit". In Switzerland the technique is called "Zughoehl".

pulled threadwork, Sampler, 36,5 x 24cm, Germany, middle 18th c., St.Gallen TM 20209, Sampler cat.Nr. 207 (right)


article: pulled threadwork, Chicago
Christa C. Thurman
No 3 / Sept 1996

Article by Christa C. Thurman, Chicago
in: The Art Institute of Chicago Museum Studies, vol.21, no 1, p.49, publication of the presentation on CIETA-Congress in Paris, September 1995

A First or Second Empire Terpsichore: that is the question
A recently acquired splendid 19th century piece of French needlework for the textile collection of The Art Institute of Chicago is discussed. The subject matter is that of Terpsichore, the Muse of Song and Dance. Various design elements were used in the composition and most of them can be traced to two architect/designers, Pierre François Leonard Fontaine (1762-1853) and Charles Percier (1764-1838), a prominent team who were connected with Napoloen I and his wife, Josephine. As there are some technical issues that point possibly toward a later date, such as the second Empire, the question of an exact attribution will be the topic of this discourse.

Panel of Terpsychore French, 1804/15 or 1852/70
44.8 x 62.3cm, The Art Institute of Chicago,
Grace R.Smith Textile Endowment (1993.132)

A table-cloth of V&A Mus. London shows similar pulled threadwork. Its provenance is not known in London. Clare W. Browne from London kindly sent the close-up here published.

Close-up of table cloth, V&A Museum London, Nr.Circ. 128-1951



to Christa Thurman’s article, found in a catalogue of the Paris world exhibition of 1878.
The following picture of a furniture decoration of Christofle & Co in Paris and shows that Percier’s and Fontaine’s compositions were still fashionable in 1878.

Catalogue of Paris World exhibition 1878, Leipzig 1880, engraving for furniture decoration,
by Christofle & Co, Paris, p. 117



Article: hangings
Margaret Swain
No 3 / Sept 1996

Article by Margaret Swain, Edinburgh
in: Proceedings of the Society of Antiquaries of Scotland, 124 (1994), 455-466,
The Lochleven and Linlithgow hangings


Exposition Musee Tissus Lyon
Ornements liturgiques au XIX siecle
No 3 / Sept 1996


Communique (contact presse: Françoise Desprez, tel,
Exposition du musee des Tissus de Lyon,
"les ornements liturgiques au XIX siecle"

26 octobre 1996 au 28 fevrier 1997,
ouvert tous les jours, sauf lundi et jours feries, de 10h à 17h30,
Visite commentee les mercredi et dimanche à 15h.

130 pieces au total seront presentees, dans le cadre du centenaire de la consecration de Notre Dame de Fourviere. Issues des collections du Musee des Tissus, elles illustrent les elements necessaires à la celebration de la messe tout au long de l’annee.
Le vestiaire liturgique y est largement represente avec la chasuble, la chape, la dalmatique, l’etoile, le manipule. Il est complete par les tissus destines au mobilier de l’autel. L’exposition presente egalement quelques dais et etendards de procession.
Jusqu’au debut du XIXe siecle, c’est generalement le tissu d’ameublement ou d’habillement qui sert à fabriquer les vêtements liturgiques. Apres les bouleversements religieux survenus pendant la Revolution Française, l’Eglise se voit contrainte de commander de nouveaux ornements liturgiques fabriques, à partir de 1820 environ, avec des tissus specialement destines à cette utilisation.
Possedant une solide experience dans la fabrication du tissu d’ameublement et d’habillement, les soyeux lyonnais repondent tres vite à la demande et font de Lyon au XIXe siecle l’un des grands centres de fabrication des ornements liturgiques.

Parmi les entreprises les plus productives se detachent les noms des Maisons Tassinari-Chatel et Viennois, Archirel, Didier-Petit, Poncet, Lamy et Giraud.


Trois pieces de reference de la Maison Henry sont presentees dans l’exposition:

- le dais de procession de Notre Dame de la Salette (1874-1876) qui represente 70 personnages en procession convergeant vers la Vierge et Pie IX, parmi lesquels on remarque les grands evêques de Lyon et de nombreux saints français. Une selection des esquisses et mises en cartes accompagne cette piece.

- un livre de priere tisse (1887-1889) qui a ete confectionne en une trentaine d’exemplaires et a necessite deux ans de travail. Textes et enluminures sont en satin de soie.

- un "ensemble Angelique" (1891), en soie, qui comprend la chasuble, le voile de calice, l’etoile, la bourse, le manipule. Les dessins preparatoires presentes sont dus au dessinateur lyonnais Gaspard Poncet.

Les autres pieces de l’exposition proviennent soir des Prud’hommes, aupres desquels les soyeux lyonnais deposaient leurs echantillons textiles, soit de paroisses ou congregations lyonnaises, comme les Jesuites.

Toutes ces pieces en reserve dans des albums ou des cartons du Musee des Tissus, et qui n’ont jamais jusqu’à present ete presentees au public, ont ete nettoyees ou restaurees dans l’Atelier de Restauration des Textiles anciens du Museee afin de paraître dans tout leur eclat.

brode d’or en relief, Musee des tissus Lyon Tissage lampas et broderie d’orfroi aux fils d’or et de soie rouge.

Dalmatique, XIXe s., Lyon, drap d’argent Chape XIXe s., Lyon, provient de la maison "Henry".


Exhibition St.Petersburg
Anne Wanner
No 3 / Sept 1996

Exhibition in St Petersburg, reported by Anne Wanner,
Historicism in Russia: Style and Epoch in the Decorative Arts 1820’s - 1890’s
St Petersburg, Hermitage (May 1996 - fall 1996). cost of catalogue: R 160’000

Exhibition catalogue in russian and english, ISBN 5-88654-019-9, printed by P&CS - Italy,
Text and compilation by the members of the State Hermitage staff,
pages 9 - 30 introductory text,
pages 30 - 231 mostly coloured photographs,
pages 231 - 430 second part: 1019 numbers of objects, many of them exhibited,
Index of masters and workshops.


book review: Baron Stieglitz Museum
Anne Wanner
No 3 / Sept 1996


The Gems of St Petersburg: Baron Stieglitz Museum, the past and the present

St Petersburg 1994, ISBN 5-900813-01-0,
Text in Russian and English, 60 pages text,
120 pages coloured photographs, catalogue in russian 164 numbers

book review: 125 jaar Tesselschade-Arbeid Adelt
Pat Griffiths
No 3 / Sept 1996

Vilan van de Loo,
Toekomst door traditie. 125 jaar Tesselschade-Arbeid Adelt,
Zutphen 1996, 216 pp., illustrated in black and white and colour, text in Dutch, bibliography

book review: Inventaris
Pat Griffiths
No 3 / Sept 1996

S. Grieten & J. Bungeneers (eds),
Inventaris van het Kunstpatrimonium van de Provincie Antwerpen. Deel 3. De Onze-Lieve-Vrouwekathedraal van Antwerpen. Kunstpatrimonium van het Ancien Regime,
Antwerp 1996, the text in Dutch (Flemish) comprises an introduction and 1106 entries, lavishly illustrated in black and white and colour, bibliography


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